The writing in Biserica neagră by Anatol E. Baconsky owes its density above all to a completely original process of transmutation within which are also layered the echoes of a literary tradition of which the author possessed a profound knowledge. Whereas critics have noted the influence of Romanian Symbolism, none has of yet made mention of French language Symbolism. In this article we investigate the role that a Belgian francophone Symbolist, Georges Rodenbach, played in the creation of the Baconskean text. Working from numerous examples, our analysis detects a crepuscular similar atmosphere (autumn, twilight, church bells, mist, solitude…) in Biserica neagră by Anatol E. Baconsky and Bruges-la-Morte by Rodenbach. We have identified a final important parallelism between Biserica neagră and another novel by Rodenbach, Le Carillonneur, which is characterized by numerous troublesome coincidences: the profession of the bell–ringer, the presence of a « League », and the same dark and lugubrious atmosphere.

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